'Sexual Key' - Outward Spike.pdf

Addendum to SK II: the Outward Spike

1. TEASING: Most teasing consists of being aggressively, insistently, systematically, playfully wrong (and/or irritating). The power of teasing comes less from the specifics of your accusation, than from the fact that you are being accusatory, and the other party is being defensive. Moreover, you’re disregarding whatever she says; no matter what she says or does, you are the boss. Formula: You're X; No, I'm not; Yes you are--you’re so X, you’re Y Here’s some content you can use for teasing: a) Her ‘real’ motivation for doing something ”Yeah, you’re only leaning that way to make sure everyone sees how well you’ve waxed your legs.” b) Her ‘real’ opinion ”Of course you’d say that--you just want to make sure no-one guesses how selfish you are.” c) Her ‘hidden desire’ ”What you really want is to feed me peeled grapes--peeled green grapes, as we recline on lush pillows of purple velvet. You want it so much you can imagine it right now!” d) Her ‘real’ job ”Actually, I know for a fact you’re employed by the city to keep that seat you’re on at fifteen degrees above room temperature. Don’t deny it--you know that seat is getting warm.” e) Her ‘real’ social status ”That’s a lovely jacket you found. I’m impressed. You seem so… I mean, you ARE homeless, right?” f) Her ‘real’ fetish ”I knew it. It’s all revealed by the way you move. You’re one of those only-has-sex-whilesmeared with peanut butter-girls, right?” g) Her ‘real’ sexual fantasy ”I will say, though, that your fantasy life is very rich. I can tell. It’s in your eyes. And you’ve got this very elaborate, detailed, prolonged fantasy of becoming ever more intensely aroused every time you tell yourself you’re not aroused by picturing yourself naked with me in a giant, shimmering, shaking bowl of cherry red jello.” h) Her ‘real’ feelings about her boyfriend “Ah, your boyfriend. You like him, he’s funny, he’s nice, he’s reliable--so why oh why do you spend so much time thinking about what you’re missing out on?” 2. RIPPLING CAUSATION: This is a process of stacking presupposition atop presupposition, each more controversial than the last, so that the early presuppositions begin to seem reasonable. Giving overly-detailed, comic descriptions often makes your suggestions more palatable. --from P1, exaggerate it and widen its implications; this creates P2 --"You laughed. That's great. I hate it when girls who want to be kissed don't laugh, because when we're lying there in bed tomorrow morning, luxuriating in the golden sunlight, I want you to smile and laugh and feel wonderful, knowing how much more pleasure you've felt than you realized you could, and enjoying the certainty that the more we have sex together, the rewarding your life is going to be." Then, optionally: “Just kidding!” --"You're sitting here quietly. And you're content. But it's not real contentment. You think you're satisfied with what you've got, but that's because you're keeping your standards low, trying to keep from being hurt. But the little girl inside you wants intense, fiery romance and adventure so much it frightens you--and the more you try to deny it, the more you try to not think about it, the more you want to surrender to something intense this very instant, and the more you try to tell yourself you don't feel this way and try to stop feeling this way, the more you just want to drag me to your car and fuck me for hours, with no shame and no regret, just because it's what you want and need." Then, optionally: “Just kidding!” --"You're smiling. Great. The marvelous thing about feeling good and aroused and open to new Copyright J.D. Fuentes, 2004 www.sexualkey.com

Addendum to SK II: the Outward Spike experience is that you enjoy things so much more. Just because you're feeling this way, all the experiences we share will feel so much more wild and free, and every orgasm you feel with me will bring you this much closer to being the person you want to be, so when you become the world's most successful [HER AMBITION], you'll know exactly what set you free to finally pursue your desires wholeheartedly." Then, optionally: “Just kidding!” 2) STORY/JOKE MATERIAL Misapplying Cause/Effect Example: “Funny thing about bars. People come to talk and meet people, but when you’re ordering a drink, people can only really see your shoulders and your elbows. So when two people are talking, when two people are attracted, it’s because one saw something very special in the other’s elbows. So stop thinking about my sexy elbows. Why do women always have to think about nothing but my sexy elbows? Just stop it, already. And don’t mention my sexy elbows again.” Obviously, in this case, should she protest that you’re the one talking about them, ask what she means by “them.” If she says “sexy elbows,” complain about the way she keeps fixating on your sexy elbows… Here’s a formula for this kind of kiddie game: You: You X. You think about X a lot. You talk about X a lot. You’re an X-er. She: I am not! You: You’re not what? She: An X-er. I’m not an X-er! You: See what I mean?! X, X, X--that’s all you talk about. You’re such an X-er! More story/joke topics: --contradictions, counterproductivity --what made me/third-party embarrassed --dumb things I/third-party did --dumb things YOU probably did ("You seem like someone who would...") --things that make me exaggeratedly frustrated/outraged --note that very little humor, especially standup humor, comes from the inherent wit of the topic; the humor mainly comes from the exaggerated quality of the delivery -analogue variation -anchoring -looping 3. RINGS OF RESISTANCE Visualize her degree of arousal in terms of a set of concentric circles. The outermost circle represents hostility, the innermost represents arousal; the others fall in a spectrum between those two extremes. Throughout the course of conversation she’ll move in and out from the center, turning hot or cold, depending on how she feels at a given moment. To maintain rapport, and intensify attraction, notice where she’s at, and give her what she needs. At any given moment, gauge which circle she’s at, and respond according to the list below. 1) Her state: ACTIVELY BITCHY Your tactical objective: Take her down a peg. --The message you counter with: You imply you're too good for me; you're not. --Example: “Your brow gets these funny lines when you get all angry like that. It’s cute. My Copyright J.D. Fuentes, 2004 www.sexualkey.com

Addendum to SK II: the Outward Spike niece’s forehead does the same thing.” 2) Her state: ICILY INDIFFERENT Objective: Intrigue her with a mix of sarcasm and sensual Double Lollipop descriptions --Message: You imply you're happy; you’re not (or, your version of contentment is not good enough). --Example: “So you seem content. That’s nice. Are you studying to be a piece of furniture? …I’m not getting on your case--you just need to reconnect to your Inner Fun-ness. You need to get it back. Right now, I see some Fun-ness stuck in your ear. It’s gross. No offense.” 3) Her state: NEUTRAL Objective: Trance her out with fascinating-but-safe tales of others’ experiences; insert romantic suggestions, using Quotes. --Message: You may or may not be worth my time; I’m gonna tell you some stories about other people, just because I feel like it, and then we’ll see how interesting you are. --”What was that you said? Well, anyway, I’m reminded of Julia, this exchange student I knew… And she said that as she looked at him, she told herself,’YOU NEED TO KISS THIS GUY’” 4) Her state: CURIOUS Objective: Elicit her admiration and attraction with 'me' stories; insert sexual and romantic suggestions within quotes. --Message: Personally, I’m cool. I’m adventurous. I’m interesting. Can you keep up? --Example: “So it was 4 a.m., and I’m in the middle of the town square, drunk, and I hear this funny splattering sound, and I look up, and Kirk, the Kiwi guy I’ve been sharing a room with, is on top of the bus station, and he’s pissing into the street. Suddenly, along comes…” 5) Her state: FRIENDLY AND COOPERATIVE Objective: Demonstrate that you’re a Superior Being by way of trance & tactile exercises --Message: I can make you feel more pleasure than any guy you’ve ever met. Example: “Well, what’s really interesting is when you stop labeling things in your head--don’t just think, ‘Wow, this is cool,’ or ‘God, this is exciting’--stop labeling things, and just let yourself FEEL. Here. Touch your index finger to mine. Notice how good this FEELS. Now I’m gonna show you something…” SIX) Her state: FLIRTATIOUS Objective: Intensify her arousal, using erotic metaphors, presuppositions, and embedded commands --Message: Romance is fun. --Example: “You don’t have to look someone in the eye, your whole soul saying to this person you desire, ‘You want me so much your heartbeat is pounding… pounding… pounding, like a wave crashing into the beach.’ No, not all. Because you ARE attracted. It’s very different. Instead, because you are feeling this desire, you know your desire is such a powerful thing that you don’t have to NOTICE HOW AROUSED YOU ARE in order to know you feel desire--you just feel it. Your growing feelings of desire are a gift YOU… GIVE… YOURSELF--TO… ME, this is what is most irresistible… and INEVITABLE about desire.” 7) Her state: ACTIVELY ATTRACTED Objective: Closing the deal, using verbal pacing and explicit commands, a change of venue, and sustained touch --Message: You want sex, and I’m open to sex with you. Let’s do this now. --Example: “…And Natasha, we met three hours ago… and you are someone with an imagination, someone who can FEEL and DESIRE intensely… so you’re here, with me. Now, this room we’re in does have a doorway… and you can feel how much you want to feel, and there ARE things you want to feel… so now’s the time for us to step through that doorway, together. And because passion IS a wondrous thing, when you are feeling it, deep inside… you know what I’m saying is true, because you know it’s time for this to happen, and you CAN see that door, the door for us, can’t you. We are going to go further, starting right now. Now let’s go.”

Copyright J.D. Fuentes, 2004 www.sexualkey.com